Thinking on Polytheism and Media

I thought this would be a fun topic to explore as I’m working on finishing up the On Ritual Praxis series of posts.

So much of my thinking on media has been shaped by a key number of factors, including my own perspective as a polytheist, my consumption of and conversations around media with family and close friends throughout much of my life, the books Narrative Medicine and Coyote Medicineby Dr. Lewis Mehl-Madrona, and looking at various video bloggers such as Bob Chipman aka Moviebob or Lindsay Ellis on the role of media in modern life. I use the previous two video bloggers as jumping off points for a lot of thoughts on the very topic of this post because they give nuanced and comprehensive looks at the material they review, and both acknowledge biases they carry up front.

Media is a shared source of culture. It is the music, podcasts, and audio novels we listen to, the news, movies and shows we watch, the books, magazines, and papers we read, and so on. Rather than attach polytheism to an aesthetic, style, genre, etc, polytheist religions and their adherents embrace many Gods, and right along with this embraces many forms of media, and its attendant aesthetics and styles as well. Each kind of media we have the ability to engage with has the capacity to connect us, to enforce or renew our connections, to deepen our relationship with our polytheist religions, Holy Powers, and one another. It’s other edge is that it can do the opposite.

Right now my ears are filled with Flykt’sForndom as I write on this phone. Much of my playlist is filled with works of similar music, including Wardruna, Heilung, Hagalaz’ Runedance, and Paleowolf. I lean to furs and leathers in my winter dress and t-shirts and shorts in the summer, usually with some kind of geek/nerd or religiously meanginful iconography on the shirts. Folk music and polytheist-oriented podcasts or Great Courses audibooks fill my ears most often. Among the shows I watch are the Marvel Netflix series, anime such as Princess Mononoke and Wolf’s Rain being among my favorites, and documentaries about history, religion, technology, and science. My wife recently turned me onto the English Heritage channel and the BBC series Tudor Monastery Farm on Youtube. I play video games as diverse as The Walking Dead,Civilization, Final Fantasy, and Battlefield. I am a long-time tabletop RPG player, DM, and storyteller.

Despite my various forms of engaging with modern media, as a polytheist I often find myself frustrated. Media’s modern incarnations are so often geared towards the marketing of lowest common denominator material that its overall contribution to the positive development of society has been, and will likely continue to be debated for a long time. Set that aside, and most of the media made is not made for polytheists and much of the media makes that quite clear up front. Modern media is part of culture, and any part of media has a hard time breaking away from the mindset in which it is based. Modern American media, as modern American culture, is so mired in a Protestant Christian mindset, arguably the most toxic elements of Calvinism and Puritanism being its largest holdovers, that it seeps into many space in which there are actual diversities of work taking place.

The last video game I remember playing in which a polytheist religion figured prominently in the plot was in Mass Effect 2, where one of the squad characters worships many Gods as a matter of course and his gods and relationship with them explored in a generally respectful manner. In many of the books that I read polytheism is simply part of the landscape, such as the Jim Butcher Dresden Files books, or American Gods. These two both come with their own caveats. In a funny twist Harry Dresden has interactions with many Gods, but in this he draws a distinction between his interactions with Them and with his friend, Michael Carpenter’s faith as a Catholic, in that Harry does not need to believe in these Gods. They just exist, and his jury is out on Carpenter’s Catholic God. Despite being surrounded by Gods, and in some cases having contractual relationships with different Gods and spirits, Dresden never commits to worshiping any. This is not a problem in and of itself, but Dresden never comments on any but a Native American medicine man/wizard character working with spirits in a relationship rather than transactional way. No one in the Dresden universe has ever to actually have been shown to worship Gods, despite how much They show up and have pull in many of the plotlines he is involved in.

American Gods subordinates the existence of Gods to living through Their worshipers. The central conceit of the story is that Gods are real and live, but their ability to live and affect reality is enabled through the minds of their worshipers, the memories their descendents carry, and through the offerings that the few who believe in Them give. Where Dresden is an agnostic, Shadow is wandering into a world full of Gods, both ancient and modern, blind. As an audience surrogate to start with, he is not bad. Gaiman could have done far, far worse. Shadow struggles with doubt and disbelief in ways familiar to many of us who worship Gods, and his path in the book is similar enough to how I began working with the Old Man that the first time I picked up the book my jaw dropped at some of the parallels.

As a polytheist my view is that both works suffer from positioning the Gods as real, but their worshipers as unreal or utterly absent. As neither Butcher or Gaiman seem to engage the Gods and Their worshipers as being real in their respective works the polytheist view is utterly lost to agnostic points of view embodied in Dresden and Shadow respectively. Are the Gods real in these works of fiction? The simple answer is “Yes”, and the more complicated answer is “Real in what sense?” Butcher’s Dresden universe seems to treat the Gods as real Beings with Their own motivations, some at loggerheads with each other and others in cooperation. His view of the Fae is that They have control and power over/with the forces of nature, and His view of Odin is that the Einherjar are real, and the Wild Hunt actually features in one of his books in a really cool way. The Gods do not lack agency, power, or ability to influence the world in his books. However, Butcher’s development of monotheist characters like Murphy or the Carpenter family without any development at any time of polytheist characers or families shows the operating mindset that Christianity and agnosticism are the default worldviews even with the massive amount of Gods and spirits sprawling through his books.

Gaiman does treat the Gods as real with Their own motivations, views, and conflicts. However, his central premise (Their existence relying on worship) robs Them of being understood in Their own terms. His New Gods, such as Media and Technical Boy, are counted as Gods as well, with sharp divides between Old and New, and the dynamics of these relationships are the lattice on which the plot is built. Yet, his treatment of America is that America is hostile to Gods, that They don’t really have a place here. The one time a Pagan is featured they do not recognize Ostara standing right in front of them, nor recognizes the meaning or impact of Her Day. Granted, when I read this part I grinned like a damn fool since I have heard almost the same thing come out of Pagans’ mouths word-for-word, so Gaiman’s strawperson here clearly isn’t built up out of whole cloth. However, at no point is there a contrast to this person, at no point is a worshiper who keeps good cultus brought forward.

For all that the Gods are treated as real in these stories, we polytheists are non-people in these stories. Despite this glaring flaw I do like American Gods and The Dresden Files quite a bit. It is unfortunate that both works have these flaws, not only because I enjoy these stories, but also that these two are front-runners of urban fantasy fiction. These two have set the tone for many of the urban fantasy series in existence now, with many taking far more liberties with the abilities of their various protagonists’ powers, and more liberties with the reality and abilities of the Gods. Where both Butcher and Gaiman in their works seem to have respect for the Gods even if both are agnostic in regards to Them, more urban fantasy fiction seems to use the Gods rather than have Them as part of the reality of the world their characters are in.

My issue is not with fantasy, urban or otherwise, but with the treatment of Gods as mere characters for plot advancement. It seems many authors do not think through the impact that having many Gods takes on a people, most egregious in fantasy settings. A basic example is a story with a forest God in it. If there is a God of the forest it should make an impact on how the local village would interact with the forest and its denizens, festivals, etc. If polytheism is the default for a fantasy world it should have impact on how characters think, act, fight, fuck, marry, work, worship, raise kids (if they do) and express themselves. Many forms of media, not just genres of writing, could use some healthy polytheist mindsets and attitudes not only in terms of worldbuilding, but focus of plot, worldview of characters, and so on.

This kind of critique carries into any creative media where writing or messaging is a key factor. I do not just want more representation in media of polytheism, I want good representations of polytheisms in media. Whether a work of fiction takes place in our world or another, media does impact how we are perceived and does impact how we ourselves can see ourselves. As the saying goes, “Representation matters.”

Yet, we also need to be careful of taking too much of ourselves from media. Most media is made to sell. That which isn’t are often labors of love, thankfully more being supported through platforms like Patreon, YouCaring, GoFundMe, and similar. To my mind these platforms are powerful ways polytheists can support one another without resorting to dumbing down our ways of thought or the messages we may be asked through our work to bring into the world. Certainly, Bob Chipman and Lindsey Ellis use Patreon as their primary source of income so they can do their work on Youtube. Jim and I’s first podcast, The Jaguar and the Owl, had its costs taken care of by our Patreon supporters.

If we support polytheists in their various ways of making media then our media has more reach and better ability to actually be done and make an impact. An artist will be able to fully commit to their art because they are able to focus on it. An artist only able to do their art part-time because they have bills to pay with a full-time job will have a harder time producing consistent quality work. If we want quality work, whether that is art whether digital or physical, leatherwork, woodwork, yarnwork, video, the written or spoken word, music, workshops, audiobooks, or podcasts, we need to support that work.

A starving artist is one concentrating on trying to get their next meal rather than writing their next book, painting their next painting, or knitting their next project. People suffer more than enough just with the work needed to get to making quality media. This attitude that suffering should accompany media is actively unhealthy and halting a great many people who could be putting themselves to working on something of quality.

It is not just the media we passively consume that we need to be mindful of. We also need to be aware of the stories we tell ourselves. When I play D&D, Shadowrun, or a White Wolf game, I run each setting as a polytheist with polytheist assumptions. As much as D&D has contributed to folks thinking about God purely in terms of functionality, i.e. this is a God of Healing, even D&D has gotten better over the years for expanding on and giving the gods of their worlds mythology for characters and players to dig into. A creator god of the elves in the Faerun setting, Correllion, has an active conflict with Gruumsh, the creator god of orcs. This plays out into gameplay, potentially between player characters (PCs) and certainly between PCs and non-player characters (NPCs). At least since the beginning of 3rd edition, gods in D&D have become more fleshed out. Granted, they are still boiled down in stat blocks, being “God of this” and “Domains for clerics are this” and “alignment is this”. For instance, in alignment Corellion and Gruumsh are chaotic good and chaotic evil respectively.

Being mindful of how we consume our media and how we portray gods through it, even fictional ones, can better portray what a powerful impact a polytheist mindset has on the denizens of a given world and in turn give better representation of a polytheist mindset and its impact to one’s players. What does this matter, though? Isn’t this just something we pass the time with? Sure, as with any media some of it can be mindless consumption, but what we are engaging with we are bringing. It does us good to think on the impact that such consumption and sharing media has on us. Roleplay especially is impactful because we are not passively engaged in someone else’s story. Truth be told, if we are actively reading we are not passively engaged in that, either. Humans roleplay and make stories all the time, so the stories we tell ourselves have impact. Far better we take in and engage with stories in which our voices are heard, understood, respected, and engaged with.

There’s a lot of intersection between polytheists and various media just looking at my own interests that I’ve written about here. Rather than keeping our Gods and our views to ourselves, I would see us expand the people our works touch. To this, I don’t mean boiling down our beliefs to something easily digestible to the lowest common denominator. I mean that whatever our creative interests or engagement with media we make conscious choices so our religions are part of them. Some of our views will be deeply challenging to dominant paradigms just on their own. Being polytheist in and of itself is transgressive because our identity is wrapped up with believing in and worshiping many Gods, Ancestors, and spirits.

I blog, I podcast, and on occasion I make music and Youtube videos. I recognize that for all the good I may do there I am, by and large, talking with my own people. Some media is just going to do that. There is nothing wrong with that. When it comes to developing and exploring ideas in/of/to our religions many of these conversations are only relevant when in dialogue with our fellow polytheists. Even so, I think polytheists could do with being more forthright in our exploration, engagement, and creation of media so that our religions, norms, communities, and we ourselves have more representation, say, and impact on the societies we live in.

There’s a few reasons for why I would like to see this happen. Practically, the polytheist communities are quite small compared to the American population. Yet, if folks can blow thousands of dollars on various media there is no reason I can see that we cannot or should not tap into that as well for our own purposes. Further, so long as we are not in control of our own messages others will be. Polytheists producing and disemminating our own media is part and parcel of wielding power and influence. We can change perspectives by actively engaging in the public spheres as polytheists. Engaging in this way can deepen dialogue, develop perspectives, and open channels of communication between our wider communities and with one another. Engaging with the wider sphere of our cultures through media of all kinds allows our views to be heard and allows for change to take place, great and small, whose course we help to directly influence.

Indeed, this is quite the challenge. Because professional arts and media is a business (and pretty much always has been), we’re constantly being pushed by those on the money side to focus on wide target markets. I like your point about focusing our spending on media “talking with [our] own people”, as we’ve definitely seen that it CAN be financially successful. Not Battlefield successful, but successful enough for people to keep doing it.

Absolutely. As another favorite Youtube maker of mine, Jim Sterling says “The problem from EA’s perspective isn’t that Battlefield didn’t make money, it’s that it didn’t make ALL of the money!”

To some degree I think the very notion of financial success comes down to aims and expectations. Aiming for Beyonce or Aerosmith levels is probably well beyond any of us. Some might hit it, but the vast majority of singers, songwriters, musicisians, etc never will, and to set *that* as the standard is self-defeating. A more moderate, but necessary goal in my mind is “Can our creative people live life devoted to their field in such a way that they and their family can not only survive but thrive?” I am pushing back against both the starving artist and only the *accepted/acceptable* or industry-approved elite artists ever getting to be defined as successes.

Modern professional arts and media has, for most of its existence, depended on artists being hungry whether literally or figuratively. Whether rap artists (or movers/shakers in the industry) talking about “always being hungry” for the next thing or curators of exhibits *only* looking for the next Picasso, DaVinci, etc. the notion comes again and again to never being satisfied. Excellence is a great thing to strive for, but I don’t think that is what modern media is actually pushing for.

As with the Battlefield example, it isn’t just pushing for some money or some engaging material, it is pushing for *ALL* the money or *ONLY* the most engagement. Aiming for this kind of “success” isn’t really aiming for success in any meaningful way because so few hit it and so few ever hit near it. It also does not push the medium forward. I’ve played most of the Battlefield series after 1942 (loved BF 2142) and what has struck me about it isn’t that the game is poor, because it isn’t. It is that it found a winning formula, stuck with it, and has continued to make solid multiplayer games that sell because they’re entertaining. BF isn’t *pushing* the medium, it’s just swimming with the current, which is in and of itself fine. What pushes a medium isn’t necessarily what sells. Sometimes it is, in video games, a specific mechanic that changes the unfolding of a genre eg Castlevania in Symphony of the Night or Quake being a *real* 3D game with physics involved. Other times it is an aesthetic that revolutionizes the industry. Minecraft and Shovel Knight comes to mind). Some bring great financial success, but none of the games, for all their impact, have *ever* hit Battlefield’s numbers of sales. So too, I think we need to consider as creative people we’re making media for mass consumption or to change things, recognizing sometimes we can have our cake and eat it too, but most times it is not in the cards. Likewise, I think folks need to consider how we fund our media, and what media we fund. We live in an age where folks can contribute directly to artists working in an anime studio (which is becoming a more popular way for sakuga artists to get funding especially during budget cuts) through things like Patreon and YouCaring. We have Bandcamp and the big company music conglomerates working through Google and Apple’s respective online storefronts. There’s more options for people on an individual level to make wise choices with the disposable income available to them just as there are more ways for creators of media to get that funding. I find it quite revolutionary, and something that may save modern media from its own cannibalizing forces in the massive industries that have exploited media since these industries were first founded.